"So few players these days are capable of such subtle nuance or such honest sentiment."

- Joseph Magil, AMERICAN RECORD GUIDE, July/Aug., 2007

"Suave, debonair, and sincere, [Thibaud’s] art was an extension of his personality; therefore, while he had numerous pupils, he had no stylistic heir. Thibaud’s playing is immediately recognizable and he can be mistaken for no one else. He also had an air of belonging to an earlier time….Like his friend Georges Enescu, Thibaud had a vocabulary of slides and ways of sneaking up on a note that today’s virtuosos would profit from studying. These expressive devices contributed to an erotic quality in Thibaud’s playing that, paradoxically, is missing in our modern world of tawdry sexual display."

- Joseph Magil, AMERICAN RECORD GUIDE, May/June, 2004

“Marguerite Long studied at the Paris Conservatoire with Henri Fissot, taking a Premier prix in 1891, and returning to the Conservatoire to teach from 1906 to 1940. From 1920, she was professor of piano at the Conservatoire, becoming the first woman professor at the Paris Conservatoire. She also founded her own private music school where she was joined in 1940 by violinist Jacques Thibaud, eventually establishing the Long-Thibaud Competition in 1943. Ravel dedicated his Concerto in G major to her, as did Milhaud his First Piano Concerto."